Atomos Ninja Inferno REVIEWED

Bristol-based Daniel Peters is one of a new breed of indie filmmakers discovering that you dont need big budgets to create filmic shorts. Often working solo, shooting and editing his own work, he creates the look and feel of bigger productions with only limited resources. His commitment to the craft is so great he had to sell much of his own gear to fund his most recent short film Deserted in Paris, after he went over budget due to lost locations and actors pulling out.

Because every penny counts, he relies heavily on more affordable camera kit. He is currently using the Panasonic GH5 coupled with the Atomos Ninja Inferno 4K external recorder and monitor a combination that has received a lot of buzz in indie film circles because it offers a lower-cost way to get excellent 10-bit 4K images at 60fps, direct to Apple ProRes. Combined with the right lenses and lighting, the skilled Director of Photography can make footage shot on this combination look like it was done on a fully-fledged cinema camera.

Along with the 10-bit quality, one key advantage for Peters is the ability to work in Apples ProRes codec all the way through the production chain. The camera files are recorded directly to SSD drives in Apple ProRes or Avid DNxHR formats, and can be easily brought into most popular editing software. Peters explains: I was recording to 10-bit ProRes to speed up my editing, rather than converting the files to ProRes afterwards. NLE systems are still a bit behind supporting the in-camera GH5 10-bit files to work without hiccups.

It isnt just about cost. The GH5 and Ninja Inferno make sense for his style of filmmaking, he explains: The FS7 and Ursa Mini are both great cameras but for low budget filming, sometimes you want to draw as little attention to yourself as possible, especially if you end up near locations where they dont like you filming. So even handheld with the GH5 draws less attention.

Deserted in Paris was shot in the Mojave Desert and Palm Springs California, in bright conditions where it could have been very hard to see most monitors without a sunhood. The 7-inch high brightness screen on the Atomos helped Peters focus and compose with ease.

Anyone who has shot in desert conditions also knows that setting the correct exposure can be tricky. Thankfully, the AtomHDR tool on the Ninja Inferno helped Peters get the right balance between protecting the highlights and getting detail in the shadows of the image. Although the AtomHDR function is primarily designed as a tool for HDR, many shooters like Peters have also discovered that it is also a quick and reliable way to assess exposure when capturing Log for a standard REC.709 finish as well. With a simple slider, the user can quickly check the detail and noise in the shadows, and the level of detail retained in the highlights, then adjust exposure to their taste.

Peters also loves the look of anamorphic lenses. The Ninja Inferno can aid when shooting with these by displaying the footage correctly de-squeezed for the correct aspect ratios. Having all the anamorphic options to de-squeeze 1.3x, 1.5x or 2x is amazing, Peters enthused.

Another advantage to the Atomos 4K monitor recorder range is the ability to load creative looks as LUTs. Up to eight can be stored on the devices internal memory, with the option to store many more on the SSD drive to be loaded when needed. Peters is expert at creating his own LUTs and having them loaded on the device proved very useful: Viewing my LUTS on the Inferno meant I was pretty much viewing my final result, he said.

He added: The GH5 and Ninja Inferno produce stunning images. Yeah, the GH5 has a smaller sensor and may not be the best lowlight performance in the world, but I love what it can do and the price is amazing compared to the FS7 and USRA Mini.

Id happily recommend this setup to other filmmakers, especially for quick turnaround edits. Recording to 10bit ProRes is great rather than transcoding afterwards. The monitor is also great to use to keep an eye on noise in an image/scene, plus viewing the image with the Inferno gives more confidence when setting up scenes.

File Catalyst at BVE 2013

Atomos at BVE 2013

AJA at BVE 2013

ATOMOS at BVE North 2012

Hireacamera at BVE North 2012

Atomos at IBC 2012

Den Lennie meets Atomos at BVE

There’s probably a good reason that BVE is held in late February — it offers you a few weeks to set your annual plans in place. Then, once you’ve decided on the opportunities you want to take advantage of and improvements you want to make, you have a chance to visit this massive exhibition to see the latest technological innovations that will help to bring your plans to fruition.

Founded in January 2014, EpicTech Media have been providing high end video production to companies and musicians across the U.K. for over three and a half years. When approached earlier this year by the band Bodkin Lane, we relished the challenge of producing a video of their charity concert, in aid of Headway (www.headway.org.uk), despite the challenging size of the venue.

The Christmas decorations are down; the family have all headed home – and the New Year’s festivities have drawn to a close. I put my hand up to it – I’m a little drained. As such, I figured I’d start the new year with a Bluffer’s Guide to Batteries. With the cold weather setting in, it can be a nightmare to pick the right disposable batteries for small kit – and maintain rechargeable batteries in larger items. This article will take an overview of which batteries will last longer under certain usage conditions – and how to achieve the cell’s maximum potential.

Studio INVATE is a video company based in Bangkok, with an inventive reputation. Its public persona is everyday commercial work, such as producing highly creative videos, live broadcasts and commercials, for companies ranging from large industrial brands and retail businesses to educational institutions. But in between the studio and on-location work for clients, the company’s crew of 14 employees and a few dozen freelancers enjoy live-streaming video game tournaments.

Whatever production companies are doing right here, right now, today, with wireless HD production tools, they want to do right here, right now, today with 4K UHD.
That’s great, but common wisdom would share a host of challenges around 4k UHD, not least, the fact that 4K UHD requires 8x the processing power to transmit, then demands additional horsepower (and bandwidth) to accommodate the data and controls, wireless or otherwise, and of course, when you ramp up processing power, you ramp up heat generation, which needs to be efficiently evacuated.

If you asked me the question ‘where do you see yourself after you graduate’ three years ago I would have probably answered ‘in a lot of debt, but if you don't think about it, it doesn't exist because three years is a long time right ?’. WRONG! These three years studying Television and Broadcasting at the University of Portsmouth have been the quickest three years of my life. Back when I started I didn't really have any idea what I wanted to specialise in and the dreaded four letter word AVID used to be my biggest enemy. However I persevered through the 3792871 hours of lectures learning how to use the software, how it functions, neither did I think I'd be a one woman match of the day by graduation'.

My journey as a filmmaker began with a select number of enthusiastic BBC reporters picked out and trained in the concept of Personal Digital Production by the American Video Journalist Michael Rosenblum.

The setting was Celebro Studios London, home to their fully 4k television studios, where journalists and industry commentators gathered late last November to witness the launch of the revolutionary Rotolight Anova PRO 2. This was no ordinary unveiling though, the launch was streamed live on Facebook and YouTube and hosted by award winning news anchor man Martin Stanford with Wesley Dodd, CEO of Celebro Media Group and Rotolight MD Rod Gammons in the studio.

My first prediction for the coming year is that the use of IP to move broadcast content will increase dramatically. Ultimately, it will become the commonplace, just as the use of IP has become part of our everyday, consumer lives. Live sports are closely linked to this growth, as conversion of broadcast signals for transportation across established telecos networks enables content to be viewed in real-time, regardless if it’s in the next room or across the globe.

On the 1st January 2018, I officially took on the post of SMPTE Standards Vice President. The role has responsibility for all of SMPTE’s standardisation activities and it fills me with equal measures of excitement and terror.

Reliability, flexibility and ease of use are the key requirements when covering the news and live events, especially when the location could be anywhere. Connectivity is one of the biggest concerns in the field when the pressure is on to capture a key event – if you cannot establish a reliable transmission path to send your video back to the broadcast studio, there is no story.

Filmmaker, director and editor, Leonardo Dalessandri first came to fame with his stunning video ‘Watchtower of Turkey,’ which with more than 200 million views, garnered the accolade of Best Vimeo Video in 2014. His vibrant images are combined with a unique editing style, incorporating slow motion, hyper lapses and invisible match cuts to produce genuinely breathtaking final results.

Some people have been, understandably, getting fairly excited over the prospect of being able to deploy wireless cameras to capture and transmit 4K UHD. Manufacturers and developers are closing in on the ability to deliver systems that will offer up almost endless creative options at the highest – to date – possible picture quality.

The guys at KitPlus asked me if I could write about what I think is going to happen in 2018 – a feel, or mood, piece of what we might see this year. I’m not sure why they asked me but perhaps it’s because I’ve been around the industry a long time. Anyway, to look forward I think sometimes it’s best to look back as history has a habit of repeating itself.

For a number of reasons, wireless camera links needed time to migrate to 4K. However Broadcast Sports International, BSI, designs their own cameras and builds their own hardware and their transition to 4K is already complete.

There are many reviews about this camera online and a heap of incredibly detailed comparison and behind the scenes footage that will really give you a full insight into what it can do. So first a disclaimer - this review is less detailed and based on my personal reading of what this camera means for Canon and all other camera manufacturers and us – the users of these technologies. So, what’s all the fuss about?

For the founder of London-based Hangman, James Tonkin, this has indeed been a summer to remember. After sixteen years of working in the same suites, he designed and moved his team into a new future proofed facility in Kew Gardens created specifically for the manipulation and delivery of formats in up to 8K HDR.

Early in November some of us lucky Steadicam Operators from around the UK were invited to try out the new Tiffen M1 Volt, which is essentially an electronic motorized horizon assist unit attached to the gimbal of the latest Steadicam M1. Is it a good idea? As experienced Steadicam Operators, directors or producers, why would we be interested? Let’s investigate KitPlus fans!

We are living in the video era - the staggering statistics on video growth make that abundantly clear. According to Cisco’s Visual Networking Index: Forecast and Methodology 2016–2021, video will make up 82 percent of all consumer internet traffic by 2021, an increase from 73 percent in 2016. To put this in perspective, “it would take an individual more than five million years to watch the amount of video that will be crossing global IP networks each month in 2021.”

Everyones talking about using AoIP (Audio over IP) in the broadcast world, but what does it mean to the operators actually making the production - the intercom users? And after years of interoperability taking the lowest common format of analogue tie-lines (also known as 4-wires), has intercom today already moved into the digital world by sharing digital audio resources with other types of hardware?

Both on and off camera, there are some collaborations that are built to last. Armed with the success of their work on the first film adaptation of the Kingsman comic book (Kingsman: The Secret Service), director Matthew Vaughan reunited with cinematographer George Richmond, DIT Joshua Callis-Smith and colorist Rob Pizzey, to deliver Kingsman: The Golden Circle, the upcoming second installment in the spy comedy series.

Most video professionals will agree that the future is IP. The question is, when and how do they make this transition? With manufacturers just introducing new IP products, many people are observing and waiting. However, the reality is that the move to IP is already rapidly taking place and is more transformational than the move from analogue to digital, SD to HD, or HD to UHD/HDR. IP will change the way that people interact with video, making it more flexible, more accessible, more scalable and will provide more opportunities for content delivery

In mid-October, Nokia issued a press release from its headquarters in Finland, announcing a refocusing of its business, with a growing emphasis on digital health. Read on a few paragraphs, though, and you find this statement....

There can be a one size fits all approach to prompting, but with the many forms of production in todays broadcasting world - from a major sporting event, to the biggest Saturday night entertainment show, to a 24-hour news operation or prompting on location - it is unlikely that a single system will suit every circumstance. The equipment needs to be designed for purpose, interchangeable and adaptable, since prompting, like other areas of the broadcast workflow, does not stand still.

This article concentrates on what is often described as the weakest link, namely 1) above i.e. the Playback Decks and what could be another weak link, namely 2) i.e. Tape Cleaning Facilities. I have read several articles recently written in the belief that the playback of magnetic video tape will be all but dead in about 20 years due mainly due to lack of working VTRs this inspires me to do something about it.

The media sector is an attractive target for cyber attacks of all kinds from malicious individuals who enjoy disrupting high profile shows, to organised criminals who are attracted by the value of content, to nation states aware that media is a way of conveying or distorting messages.

The Cloud itself is fairly simple, but for broadcasters it can be difficult to leverage. It isnt technically complex but broadcast still overlaps requirements that need real time, high resolution and quick turnaround solutions. Plus, this is coupled with the need to connect with dispersed geographic locations, reduce costs and access multi-format assets. As a result, broadcasters have moved away from asking the basic question what can I do in the cloud? to trialling projects and implementations are now underway or under evaluation.

Growing a new media outlet in todays highly competitive market requires taking a strong look at the new ways media is being consumed. Many of the most successful recent startups are community focused, often finding a niche market that wants to be engaged in a way they perceive themselves. Al-Araby TV is a London-based news and current affairs satellite channel that has set out to do just that for Arab citizens.

IBC feels like a bit of a dim and damp memory now, but a few over-riding memories do remain however, not least of which was the Arri party to celebrate its 100th year. It was like an old-school manufacturers IBC/NAB party, back when manufacturers had marketing budgets, and lots of sales people. It got IBC off to a great start; thanks Arri.

With the ever-increasing number of program channels and range of different program distribution formats, the process of ensuring program quality has become a complex one for contribution/capture, production, post production, server ingest and content distribution.

There are several different approaches to transmitting live and file-based content from the field to the studio. Traditional microwave Electronic News Gathering (ENG) provides high bandwidth, high-quality transmission with low latency. Using the secure, dedicated BAS spectrum keeps control in a broadcasters hands. The past few years have seen a shift in video technology toward acceptance, and adoption of IP-based links into ENG workflows.

The entertainment industry is visual and sound driven. Without these two elements there would be no such a thing as entertainment. Its obvious that there are people who create sound/s and visuals. Copyright laws were created to protect the industry and these artists. Many organisations have been created to look after musician, writers, poets and filmmakers. For example there are a number of bodies especially the MCPS [Mechanical-Copyright Protection Society], which is responsible for collecting royalties and licensing of music on behalf of musicians and music producers.

The potential nirvana of interoperable IT, Telecommunications and Broadcast convergent technology definitely felt a lot closer at this years IBC with the launch of many, many broadcast IP ready devices, workflow and solutions. While the big ticket camera and live production infrastructures dominated the headlines there were a number of smaller but equally important IP workflows that were launched which are fundamental to successful, professional TV production and this includes the often forgotten world of TV Prompting

Matching shots between different cameras can be tricky at the best of times. But how do you match lens characteristics between a live action shoot and a CGI composition? The CP.3 XD lenses from Zeiss offer an efficient solution to this with their frame accurate meta-data.

Internet and Satellite content distribution now allows production companies and broadcasters to send targeted TV programmes and video to widely dispersed audiences all over world, whilst located where theres easy access to the technology, equipment and expertise to produce top quality programmes.

Presenting for television is a talent that is critically competitive. Budding presenters around the world produce showreels, attend acting schools and fight to be the next Ant and Dec¦ but what is it exactly that makes a successful television presenter? As a wannabe TV presenter myself, I wanted to explore the exact process talent managers follow when finding the next big thing and whether I have exactly what it takes.

For decades videographers and filmmakers have been pushing the boundaries when it comes to creativity all with the aim of delivering a visually spectacular and engaging experience to viewers. For the most part they rely on artistic vision and innate skill, but over the last few years technology has been playing more of a role in enabling that creativity, like cameras, sound and lighting.

LEDs are a highly efficient light source, and putting aside any color spectrum issues, (that have generally been improving) they still have limitations for lighting people. The naked illumination coming off a single emitter, or an array making up a larger fixture, such as a panel, is just not the soft, beautiful glow that we seek for human subjects.

While chatting with a good friend last week, he told me he was full of foreboding about the coming IBC. It needs no introduction: this conference/exhibition is the largest gathering of broadcast professionals in Europe, and the second largest in the world, and everyone in our world knows about it. Ill give you some statistics later but, for now, lets look at why my friend was dreading it.

When we were introduced to the team behind Sensation dance events in Amsterdam they had one big question for Timecode Systems: could our SyncBac VR wireless sync and control solution theoretically make it possible for a high quality, professional 360-degree video of a live dance music event to be edited in the time it takes the DJ to fly to his or her next gig? Intrigued by what our solution could help them achieve, in July they invited us to film at one of their iconic dance music events. Billed as The Final it was a sell-out farewell party to mark the last Sensation event in Amsterdam.

For many in the broadcast industry these are challenging times. With competition coming from all angles and different technological camps advocating different approaches to infrastructure and the way forwards. With the number of different variables increasing, the choices of whether to use SDI or IP infrastructures, and the choices around HDR and WCG let alone the on-going distraction of UHD / 4K.

Communications today is a critical issueno matter if you are producing broadcast television, doing a live festival or rock concert outdoors, setting up a musical on the West End, or producing a local school play. Over the last few years, the proliferation of cell phones and other wireless devices has made it clear that most people prefer to communicate untethered.

IBC is upon us once more. The doors of the RAI will open for the European electronic media and entertainment industry to scrum together to gather inspiration, keep abreast of developments in tech, and generally take the temperature of the industry.

Im often asked, what do you do when the students arent around?, and the simple answer is, as it would be from any university technical support member of staff, I get involved in passion projects and these help me to stay up-to-date with the kit and keep my hand-in with video filmmaking.

Five years ago a group of practitioners who were concerned about the poor training provision and a lack of common skills standards in the broadcast industry formed the ITTP. Since then there have been many meetings with senior industry figures and representatives from training organisations and educational establishments.

Independent filmmaker, Aaron Dunleavy, has used the backdrop of his hometown, Blackburn, to create a new short film as part of Channel 4 and Arts Council Englands Random Acts programme. The initiative - delivered by Tyneside Cinema (Newcastle), HOME (Manchester), and True North Productions (Leeds) - commissions bold, innovative expressions of creativity from young creative talent, and was a new and welcome challenge for Dunleavys third short film.

At IBC we always look forward to meeting old faces and new. For those more recently acquainted with the broadcast industry, you may not realise IBC was born half a century ago in London. In 1967 the show, held at the Royal Lancaster Hotel, attracted just 32 exhibitors and 500 delegates. However, its popularity grew and the exhibition quickly upgraded with a move to the Grosvenor House Hotel in London, followed by the Wembley Conference Centre, before moving to Brighton.

In 2012, the Oculus Rift Kickstarter campaign burst onto the scene, initiating a new wave of public interest in sense-enveloping immersive experiences. 5 years later, the consumer reality is mixed with some very public let-downs like Google Glass (which is coincidentally enjoying a re-birth at the time of writing, now as a technical tool in the workplace), and other technologies such as Dolby Atmos® becoming almost commonplace experiences. What does this mean for the audio professional and how is the near future shaping up in 2018?

kitplus.com is the new name for tv-bay and home of new and used broadcast equipment sales and hire, new and used film equipment sales and hire, used video equipment and professional video and tv product sales and hire. For sale, wanted or for hire KitPlus / tv-bay has all the broadcast sales information and contacts that you will ever need along with industry jobs should you be looking for a change of direction or have a vacancy to fill. From Sony Broadcast products to used disc drives the site has it all. Simply subscribe to recieve the daily email containing updates and additions to broadcast equipment on the site. If you are looking for broadcast news or news about new pro video or broadcast gear then KitPlus is the right place for you.

To buy and sell or hire your new / used video equipment on KitPlus is easy, fast, and very successful. The used broadcast video equipment market needs a central location to advertise all the video equipment for sale. If you want to buy or hire broadcast ENG equipment from suppliers such as Sony Broadcast, Vinten, PAG, JVC, Panasonic, even Rycote or any other broadcast equipment manufacturer KitPlus is the place to start. Sony broadcast provides probably the widest range of cameras or camcorders, and video equipment to the broadcast industry and for this reason there is always a good supply of sony broadcast used video equipment available around the world. KitPlus has provided the most comprehensive portal to all of the equipment from all of the dealers around the globe. Help and advice is on hand to choose the right VTR, camera, tripod. Although used broadcast video equipment can reduce your investment broadcast equipment is never cheap, with the massive choice of video equipment available on tv-bay you are sure to pay less. The next time you are purchasing or hiring used video equipment start your search at kitplus.com. If you are looking for a Sony broadcast monitor there are over 300 units available. If you are looking for a tripod to support your broadcast camcorder there are over 250 items online. Serial converters, HDV camcorders, DVCAM camcorders, Digi Beta camera’s & VTR’s, DVC Pro equipment, used routers and switchers, waveform monitors and vectorscopes, even complete shooting kit including Sony DSR-PD170P, Vinten Pro 5, sennheiser K6/ME66, boom pole, rycote softie, case, and more....
Used video equipment whether it be broadcast & professional or consumer has never been so easy to find and if you require help then contact tv-bay - your internet broadcast dealer. We have hundreds of reseller, dealer and hire company users with the biggest range of new and refurbished broadcast, film and video equipment from either dealer, reseller or private selle r. You will also find broadcast and media finance specialists such as Adamtean, Medialease, Fineline and Azule Finance.

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